The new Religan serif font is luxurious and elegant which will bring a unique style and trendy look to your designs. This modern serif relogan has several on-trend ligature binders and special characters to make it look more unique in all design projects and work perfectly to pair with other fonts. It's perfect for logotypes, branding, wedding monograms and invitations, blog headlines and more. Here we prepare some fasteners: ab ar an am ah ara ap ti tr st tu tt ct et ff ty ffi fu ft fj fy th tm tn in im ir it ta ri er eh em en ch cr ra ng li eb cb fr ck fb fh fk jj gi and more.. Religan also includes the full set: Uppercase and lowercase Multilingual symbol Number Punctuation This type of family has become a work of true love, making it as easy and enjoyable as possible. I really hope you enjoy it! I can't wait to see what you do with Religan! Feel free to use the #Dora Typefoundry tag and # Religan Modern Serif Font to show what you've done. If you have any questions, you can contact us by email: doratypefoundry@gmail.com Thank You!

It can be a tough challenge to find a perfect font for your aesthetic projects to create an everlasting nuance. Handwriting fonts have prominent displays and nuances, but they often rely on old-fashioned script fonts. Therefore, Staylucky is here to give you the best. Staylucky is a script font created to be a visually attractive handwriting which is perfect to express modern, elegant nuances with personalized designs to amaze readers and to protrude your messages. It is made in cursive styles in which the letters are interconnected. Details on each letter show high contrast and curvy wipes on each edge. Its complicated forms made it more suitable to apply for big, short texts. You can also enjoy the available features here as well. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Staylucky fits best for various design projects, such as brandings, invitations, greeting cards, name cards, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Skema Pro is a versatile system of 6 serif typefaces - each bearing a distinct character and purpose. Together they form a huge superfamily of 84 fonts to fit any imaginable task. Skema Pro Livro is a low contrast, low x-height typeface with inclined axis. It is designed to work in books, where long ascenders and descenders along with increased line-spacing aid comfortable reading. Skema Pro Text has low contrast, medium x-height, and slightly tilted axis. Its neutrality along with modern feel makes it default choice for long texts of any nature. Skema Pro Omni features medium contrast, medium x-height, and slightly inclined axis. Being a more contrasted version of Skema Pro Text, it shares its intent of usage, however, creates a different texture with more formal look. Skema Pro News is a low contrast, large x-height typeface with vertical axis. Works best in newspapers and in screen applications. Skema Pro Title has medium contrast, large x-height, and vertical axis. Designed to work in larger text sizes, it offers contemporary detailing for pull-quotes and subheadings. Skema Pro Display is a typeface with high contrast, large x-height, and vertical axis. It shows its features in large text sizes, such as editorial headings.

Senlot Didone enchants with this fresh and cutting-edge sequel. It’s a modern interpretation of Senlot that says glamor and seduction. The typeface adds to the original high contrast sans serif with it’s modern high contrast shape, and features a new beauty with the distinctive sinuosity of contrasting forms. Senlot Didone is the sleek, serifed, high contrast follow-up to Senlot, and it's low contrast sequel, Senlot Sans. A serif typeface suitable for text and display work joined in 2019. Senlot Didone includes a wide range of OpenType features, including titling capitals, superscripts and subscripts, and oldstyle figures. Senlot Didone is composed of 3 widths: Condensed, Normal, and Extended, with 9 weights and their italics for a total of 54 fonts with more than 800 glyphs. Senlot Didone is a great display typeface for logos, branding, packaging, and advertising. With its broad palate of options, the font covers over 72 Latin-based languages. Dress your text in any of nine separate styles from Thin to Bold. With Senlot Didone, there's no need to compromise on another font with fewer features. Simple, elegant, and versatile, Senlot Didone now makes perfect more possible. Take the show by storm with this high contrast serif. The seductive figure of Senlot Didone is here to entice your viewer.

If you need a typeface suitable for the most elegant and hard work, you will fall in love with Schotis family, your true Scotch Roman style workhorse. Schotis Text is designed for perfect reading on running texts, leaving the setting of big sizes for Schotis Display. Each optical size family has seven weights plus matching italics, with 1100 glyphs per font. With a very extended character set for Latin based languages including Vietnamese, Schotis shows all its potential with OpenType-savvy applications. Every font includes small caps, ligatures, old-style, lining, proportional and tabular figures, superscript, subscript, numerators, denominators, and fractions. Schotis family is based in Scotch Roman style but designed from scratch, with a more contemporary and not nostalgic look. The Scotch Romans were one of the most used letters during the 19th and early 20th century, but they don’t have their own place in the main typographical classifications. They appeared at the beginning of the 19th century with Pica No. 2 in the catalog of William Miller (1813) and assumed the British route towards high contrast and vertical axis modern Romans. In opposition to the continental route of Fournier, Didot, and Bodoni, the English way opted for a wider, more legible letter also resistant to bad printing conditions.

Hellmut G. Bomm first released his Linotype Nautilus typeface in 1999. Ten years later, he updated and expanded the design. Now users have two additional families at their disposal: Nautilus Text and Nautilus Monoline. Nautilus Text bears more similarities to the original Linotype Nautilus. The letters shows a high degree of contrast in their stroke modulation. Bomm's intention was to create a clear, highly legible face. While the even strokes of most sans serif types eventually tire the eyes in long texts, the marked stroke contrast of Nautilus Text lends the face its legibility. The characters were drawn with a broad tipped pen. Like serif typefaces, the forms of Nautilus Text display a variety of elements. Its characters are narrow, with relatively large spaces between them. This helps create an overall open appearance, and allows a large quantity of text to fit into a small space. Nautilus Monoline's letters share the same overall proportions as Nautilus Text's. But as their name implies, they are monolinear. Their strokes do not have the calligraphic modulation that Nautilus Text features. This allows them to set another sort of headline, making Nautilus Monoline a refreshing display type choice to pair with body text set in Nautilus Text.

Quendel has been expanded to become Quendel Happy Family. Apart from the new Bold weight for easy distinction and emphasis, there are now four other very exciting variants, rendering different writing tools and writing materials. The basic form of Quendel was written with a Japanese bamboo tip and therefore embodies a form letter of natural flow. The new versions show other features that provide the feel of written scripts. While the styles Wood and Crayon include some alternate characters, Q Marking Pen and Q Fingertip, due to their apparently more complex enacted forms, do not need additional alternates without looking stiff or boring. The wood relief of Quendel Wood was created by a freehand wood relief drawn with oiled chalk. Quendel Marking Pen seems to be written with a felt-tip pen soon depleted. At the same time it is also reminiscent of the blooming effect, which we know from photography. The name of Quendel Fingertip suggests what can be seen - someone seems to have written with the finger in a grainy material. One would like to try it himself. The effect of broken lines which can be gained by writing with chalk as reflected in Quendel Crayon. Almost like parched sandy soil, the writing material seems to crumble.

Hellmut G. Bomm first released his Linotype Nautilus typeface in 1999. Ten years later, he updated and expanded the design. Now users have two additional families at their disposal: Nautilus Text and Nautilus Monoline. Nautilus Text bears more similarities to the original Linotype Nautilus. The letters shows a high degree of contrast in their stroke modulation. Bomm's intention was to create a clear, highly legible face. While the even strokes of most sans serif types eventually tire the eyes in long texts, the marked stroke contrast of Nautilus Text lends the face its legibility. The characters were drawn with a broad tipped pen. Like serif typefaces, the forms of Nautilus Text display a variety of elements. Its characters are narrow, with relatively large spaces between them. This helps create an overall open appearance, and allows a large quantity of text to fit into a small space. Nautilus Monoline's letters share the same overall proportions as Nautilus Text's. But as their name implies, they are monolinear. Their strokes do not have the calligraphic modulation that Nautilus Text features. This allows them to set another sort of headline, making Nautilus Monoline a refreshing display type choice to pair with body text set in Nautilus Text.

Eight designers present a set of icons that indicate the fun and fantastic world of signage. Each collaborator's solution represents a completely different interpretations on signage vernacular. Akira Kobayashi's "Subsumption", obscured by foliage, offers a perspective that signs on Japanese roads can be vague and beautiful. M.A.D.'s "People Signs" is a graphical association of people signage with a variety of well known situation symbols. Cynthia Jacquette's "Honest Arrows" are a series of arrows that attempts to honestly tell you how to get from point A to Point B in a big, confusing city. Mike Kohnke's "Road Kill" and the "Bump & Bruise" highlight how signs make for perfect targets when unloading a round of buckshot, and the licking a contruction barrier often endures. Joachim Muller-Lance's "Traffic Blends" places faces on things! Hey, didn't you give your first car a nickname? Cars are alive, you know - they guzzle and smoke all day. Jean-Benoît Lévy's "Inner-State" was inspired while reading the California driver handbook to pass a driver's test. Kevin Roberson's "Tail Lighting" reminds us to drive carefully and not to forget to signal. Diana Stoen's "Drivers Out There" shows us "driver personality archetypes", including the lil'ol lady that everyone tries to avoid.

Art Gothic was attributed to the Central Type Foundry of St. Louis, Missouri, USA by Henry Lewis Bullen, writing in INLAND PRINTER in 1907, with a reproduction shown in Kelly’s American Wood Type. The typeface appears on the cover of an issue of “The Superior Printer” pictured in Typology by Heller and Fili dated in the 1870s. Art Gothic was designed in 1884 by Gustav Schroeder and proved to be one of the more popular and enduring of the American-designed Victorian display faces of the period, appearing frequently in ads in various publications. The Hamilton Mfg. Co showed a very similar wood type, No. 232, with a modified and rather heavy-handed upper case in 1892. As late as 1897, it may be found in the advertising section of The Ivy of Trinity College of Hartford, Connecticut and was included in the Norwood Press 1902 Specimen Book. Our font includes a complement of five upper case and four lower case alternatives as follows: 123=C, 125=E, 135=H, 137=S, 172=c, 175=e, 215=m and 247=s. Great for period pieces. ART GOTHIC HIH is clean, readable, and surprisingly modern-looking; unlike so many overly complex Victorian display fonts, it can be used in text sizes.

Antypica is a soft and friendly slab-serif font that draws inspiration from typewriter styles. This font is designed to be easily legible in both small and large sizes, making it a great option for various applications. Its simple yet timeless design with a modern twist makes it perfect for use in a wide range of design projects. This includes package design, ad campaigns, brand identities, movie titles, poster art, booklets, and even classified documents. With an impressive 790 glyph count, Antypica supports Basic Latin and Latin Extended-A. OpenType features further enhance typography by providing Small Caps and Small Numbers, Lining Figures, Oldstyle Figures, Superscripts, and Subscripts, Fractions, Tabular Lining Figures, Tabular Oldstyle Figures, Ligatures, and Contextual Alternates to prevent some unwanted letter pair collisions. Additionally, Stylistic Sets offer Stylistic Alternate Lowercase a, Alternate Cap T, Alternate Dollar Sign, and Slanted Hyphen to add calligraphic quality to text blocks, while the Special Set offers unique glyphs like Bitcoin and Interrobang. Antypica is highly versatile and can be used in many design applications. Small Caps and Small Numbers can be used creatively to create more visually engaging typography, and the optimized underline effect can be used to enhance the design. To access the Special Set in OpenType features, select it from the OpenType menu. To add special additional marks, type following in your text field. • For the Exclam-Comma mark, type ” ,! ” (comma+exclam) • For the Question-Comma mark, type ” ,? ” (comma+question) • For the Bitcoin mark, simply type " bitcoin " (not case sensitive). • For the alternate (Cap Height) Registered mark, type " registered " (not case sensitive). • For the Published mark, type " published " (not case sensitive). The font also has a small caps version of the Published Mark. • For the Numero mark, type " N° " (N + degree) (case sensitive). • For the Interrobang, type " bang " (not case sensitive). • For Price marking, type ” ,– ” (comma + one of these: hyphen, en dash, em dash). • For Dot(s) Pattern glyph, type " dots " (not case sensitive). • For Line(s) Pattern glyph, type " lines " (not case sensitive).

Introducing Funboy—the typeface that brings the bold, wild style of San Francisco’s graffiti right to your fingertips. With its thick lines and natural, flowing strokes, Funboy is perfect for adding an edgy, old-school hip hop vibe to any design. But this font isn’t just about style—it’s also about customization. With custom pairs and substitute characters, you can elevate your writing to a new level of polish and sophistication. And if you’re looking for even more personalization, simply play around with the uppercase and lowercase variants to create a unique look that’s all your own. Whether you’re designing a flyer for a block party or creating album art for your latest mixtape, Funboy is the typeface that will make your work stand out. So why settle for a boring, generic font when you can add some graffiti-inspired flair to your designs? Try Funboy today and see the difference for yourself. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

FF Neuwelt™, from Jens Gehlhaar, is open, inviting, highly legible, and strikingly handsome. Combining the straightforward clarity of a geometric sans with a welcoming warmth, FF Neuwelt’s eight display and text weights, vast range of alternates and extended character set, make for a family with few limitations. While grounded in a solid geometric sans serif foundation, Gehlhaar has drawn a large suite of alternate characters that infuses FF Neuwelt with softened, and ultimately easy on the eyes, humanistic shapes and proportions. Alternative cursive italic forms and a choice of round or square punctuation are also available at the click of a mouse. FF Neuwelt is spaced for sizes larger than 16 point, while FF Neuwelt Text has more open letterspacing to set perfectly at sizes smaller than 16 point. In addition, five key lowercase characters were drawn with more legible shapes. The result is that FF Neuwelt adapts from text to larger sizes and one stylistic mien to another with ease and grace. FF Neuwelt is a natural for interactive design, performing well on both large digital displays and small screens. Counters are generous and apertures are open, making them a perfect choice when setting text as microcopy or in short blocks where quick and accurate comprehension is the goal. Even the heaviest weights translate well to on-screen reading. FF Neuwelt also speaks with authority in large sizes on big screens. Equally at home in print environments, FF Neuwelt is a perfect choice for long-form text, captions, editorial, packaging, point-of-purchase design – as well as extensive branding projects. Its many choices of alternative characters make for a design that draws the reader in, without overpowering the message. Although he has drawn typefaces in addition to FF Neuwelt, Gehlhaar is primarily a filmmaker. Directing commercials with style and grace, his work includes spots for Nissan, Apple, Emirates Airlines and Microsoft. As a creative director, Gehlhaar has worked on a broad range of projects for Coca-Cola, MTV, EPSN, Volkswagen and more.

Avenir Next Pro is a new take on a classic face—it’s the result of a project whose goal was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. This family is not only an update though, in fact it is the expansion of the original concept that takes the Avenir Next design to the next level. In addition to the standard styles ranging from UltraLight to Heavy, this 32-font collection offers condensed faces that rival any other sans on the market in on and off—screen readability at any size alongside heavy weights that would make excellent display faces in their own right and have the ability to pair well with so many contemporary serif body types. Overall, the family’s design is clean, straightforward and works brilliantly for blocks of copy and headlines alike. Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next Pro to life. It was Akira’s ability to bring his own finesse and ideas for expansion into the project while remaining true to Frutiger’s original intent, that makes this not just a modern typeface, but one ahead of its time. Complete your designs with these perfect pairings: Dante™, Joanna® Nova, Kairos™, Menhart™, Soho® and ITC New Veljovic®. Avenir Next Variables are font files which are featuring two axis, weight and width. They have a preset instance from UltraLight to Heavy and Condensed to Roman width. The preset instances are: Condensed UltraLight, Condensed UltraLight Italic, Condensed Thin, Condensed Thin Italic, Condensed Light, Condensed Light Italic, Condensed, Condensed Italic, Condensed Demi, Condensed Demi Italic, Condensed Medium, Condensed Medium Italic, Condensed Bold, Condensed Bold Italic, Condensed Heavy, Condensed Heavy Italic, UltraLight, UltraLight Italic, Thin, Thin Italic, Light, Light Italic, Regular, Italic, Demi, Demi Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic. Featured in: Best Fonts for PowerPoints

Kangaroo FS Joey was the offspring of a project with Rudd Studio to develop a logotype for an online streaming TV service, in 2008. While under wraps, the secret project was code-named Kangaroo. The logotype led to a second project, to design a corporate typeface for the service. It was the first big project Fernando Mello had worked on with Jason Smith. “Like any designer who just joined a team, I was very excited about it, drawing and sketching lots of ideas. I remember Jason and I experimenting with lots of possibilities, for both the logo and the typeface.” Online As the font for a Spotify-style, internet-based service, FS Joey needed to be highly legible on-screen, including at very small sizes. There had to be a range of weights, and they’d have to work well in print, too. It was also important that it felt corporate, not too quirky, while still having a strong character of its own. Quirkiest “We designed three weights specifically for use on the Web,” says Jason Smith. “There was the usual fight between me and my team. I wanted at least one identifiable letter that was a quirk. As always I went straight for the lowercase ‘g’, and it was drawn numerous times with lots of variation. I got the quirkiest one accepted by the client.” But, later in 2009, the Competition Commission blocked Project Kangaroo, and Fontsmith were left with a couple of weights of an as yet unused font. From Kangaroo, Joey was born. A favourite “Straight away, people started to notice the typeface,” says Jason. “I can take the credit for pushing the art direction and standing up for the quirks. But it was Fernando who was the key to pulling it all together and adding his own distinct flavour. Now it’s one of my favourite designs in our library.” Fresh and friendly, geometric and energetic, Joey is available in five weights, all with italics, all finely-tuned for both screen and print.

Kangaroo FS Joey was the offspring of a project with Rudd Studio to develop a logotype for an online streaming TV service, in 2008. While under wraps, the secret project was code-named Kangaroo. The logotype led to a second project, to design a corporate typeface for the service. It was the first big project Fernando Mello had worked on with Jason Smith. “Like any designer who just joined a team, I was very excited about it, drawing and sketching lots of ideas. I remember Jason and I experimenting with lots of possibilities, for both the logo and the typeface.” Online As the font for a Spotify-style, internet-based service, FS Joey needed to be highly legible on-screen, including at very small sizes. There had to be a range of weights, and they’d have to work well in print, too. It was also important that it felt corporate, not too quirky, while still having a strong character of its own. Quirkiest “We designed three weights specifically for use on the Web,” says Jason Smith. “There was the usual fight between me and my team. I wanted at least one identifiable letter that was a quirk. As always I went straight for the lowercase ‘g’, and it was drawn numerous times with lots of variation. I got the quirkiest one accepted by the client.” But, later in 2009, the Competition Commission blocked Project Kangaroo, and Fontsmith were left with a couple of weights of an as yet unused font. From Kangaroo, Joey was born. A favourite “Straight away, people started to notice the typeface,” says Jason. “I can take the credit for pushing the art direction and standing up for the quirks. But it was Fernando who was the key to pulling it all together and adding his own distinct flavour. Now it’s one of my favourite designs in our library.” Fresh and friendly, geometric and energetic, Joey is available in five weights, all with italics, all finely-tuned for both screen and print.

Introducing Addlethorpe, the sleek and sophisticated three-layer metal typeface that will elevate your designs to the next level. With its unique combination of foreground, fill, and background layers, Addlethorpe offers endless possibilities for customization and creativity. Whether you’re designing for print or digital, Addlethorpe has you covered. The foreground layer, Addlethorpe 1, is perfect for use on light backgrounds, offering intricate detail that will catch the eye and draw the viewer in. But why stop there? Addlethorpe 2 is the perfect fill layer, allowing you to add color and depth to your elevated letters. And don’t forget about Addlethorpe 3, the rectangular background layer that fills in the blanks and ties your design together. With its clean lines and bold presence, Addlethorpe 3 is the perfect finishing touch. But Addlethorpe is more than just a pretty face. OpenType-aware programs allow for the use of lining or old-style numerals, while letter pair ligatures break up the monotony of repeated letters. And with Addlethorpe Web, you can enjoy all of this beauty and versatility with faster load times and simpler forms. So what are you waiting for? Give your designs the edge they deserve with Addlethorpe. Just be patient with your application – with all this detail and customization, it’s worth taking the time to get it right. Some Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aymara, Basque, Bemba, Bikol, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Galician, Genoese, German, Guadeloupean Creole, Haitian Creole, Hiligaynon, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Kikongo, Kinyarwanda, Kirundi, Lombard, Low Saxon, Luxembourgish, Makhuwa, Malay, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Papiamento, Piedmontese, Portuguese, Quechua, Rarotongan, Romansh, Sango, Saramaccan, Sardinian, Scottish Gaelic, Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tetum, Tshiluba, Tsonga, Tswana, Tumbuka, Uzbek (Latin), Venetian, Võro, Walloon, Waray-Waray, Wayuu, Xhosa, Yapese, Zapotec Zulu and Zuni.

Hamptons BF is a beautiful, elegant sans serif with dramatic individuality. A font that steps out in Art Deco style. As a design movement Art Deco came into prominence during the 1920s and 30s when forms were typically sleek, symmetrical, geometric or highly stylized. Today the influence of this enduring style can be clearly seen in architecture, industrial design, fashion, art, graphic design, and yes, even type design. Art Deco style exemplifies luxury, glamour and modernity. I believe Hamptons BF captures something of that retro look in a nod to the past without ever looking dated, all the while retaining a contemporary flair. Named after the well-known New York resorts synonymous with style and elegance, this gothic or sans serif type is based upon University Roman, an early 1970s serif design which in turn was influenced by yet another serif design called Forum Flair (late 1960s); and that in turn owes its pedigree to the late 1930s’ Stunt Roman, which is the original source of inspiration for all of these. Quite a family tree! There’s dynamic interplay between certain wide, full-round letters such as C, D, G, O, P, Q, R, S and narrow ones like A, E, F, H, K, L, M, N, U, etc. This contrast repeats throughout certain lower case letters and serves to create a unique look of distinction. Light and Regular weights communicate a romantic, feminine appeal while the Bold offers a complementary emphasis. The font is somewhat versatile as in addition to its primary purpose for display, Hamptons BF also succeeds in settings containing short blocks of large text. It’s right at home in a variety of typographic environments: branding, packaging, signage logos, magazine headlines, invitations, menus, trendy cafes and more. Among the included OpenType features are Stylistic Alternates, Automatic Ligatures and Fractions. There is extended language support for Western, Central and Eastern Europe and Turkish.

You wrote on your school notebooks, didn't you. Of course, just about everyone did. And those that didn't are probably in therapy trying to overcome the repression and guilt. Balloon letters are fun, easy to draw and have a light-hearted presence. With little autonomy, what young person can resist the opportunity to make a public, personal statement on their notebook. Guess what! Adults do it too - with our cars, our houses, our toys, our accessories and so on. And how "grown-up" are we really? Anyway, my niece, Cori, made this nice, colorful, hand-drawn birthday card. It was so vibrant and fun - in warm circus colors - that I could not resist making it into a font. Use it for positive, fun stuff, stuff with a light touch - an invitation for an informal party perhaps, but probably not a formal dinner at the White House. This font is not comfortable in a bowtie. But don't be fooled. Casual as Cori is, you can set at least twelve major European languages with it, in addition to English: Albanian, Danish, Dutch, Finnish, French, German, Hungarian, Italian, Norwegian, Portuguese, Spanish and Swedish. Cori Valentine adds a decorative Valentine border to the upper case of Cori. By leaving out the bow in the upper center of the border we were able to fit the border around the accented caps. Similarly, we omitted the butterfly for the Ccedilla glyph. Blank versions of the regular border & the bowless border are provided at positions 135 & 137 in case you want to put a border around your signature or something like that. Just for reference, the letterforms for Cori Valentine are 75% the size as the regular Cori font. We would like to assure you that it is permissible to use Cori Valentine to create a romantic card, flyer or note during any month with less the 32 days.

All handmade – the versatile Sofa Serif Family. Sofa Serif’s handcrafted character is friendly and eye-catching. Stylish features and alternates add personality and let you create unique logos and stunning headlines. The family boasts 5 weights from Monoline to Fat, each containing more than 1000 glyphs, plenty of OpenType features and full ISO latin 1 & 2 language support. In addition, extra shadow-, 3D-, inline- and hatched-styles round out the package. 7 font-styles are especially created to be used as layers/layered styles. Sofa Serif has a sister: view Sofa Sans here. · High contrast is one of Sofa Serif’s key features. To maintain a wide range of use, choose from two optical sizes: Standard and Display with a maximum of contrast especially in the heavier weights. This makes it a flexible solution for any display and editorial need. · Sofa Serif includes a variety of OpenType alternates which add uniqueness to your work. OpenType features include Swashes- and Titling-Alternates, Beginnings and Endings and a number of alternates within various Stylistic-Sets for even more variation. OpenType Swashes- and Titling-Alternates are smart features which automatically adjust all swashy letters to the available white space. Switch one on and let Sofa Serif do the rest. · Please download the Sofa Serif Font Guide for all details. · Sofa Serif is an organic, rough and decorative hand-drawn/handmade all-caps display-family for packaging, posters, book-covers, wedding-, kids-, food- and logo-design and will best stand out in huge grades. Its handmade origin is subtle yet visible. · Have fun! · View other fonts from Georg Herold-Wildfellner: Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut · Language Report for Sofa Serif / 203 languages supported: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic, Asturian, Atayal, Aymara, Bashkir, Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofan, Corsican, Creek, Crimean Tatar, Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz, Galician, Ganda, Genoese, German, Gooniyandi, Greenlandic, Guadeloupean, Gwichin, Haitian Creole, Han, Hawaiian, Hiligaynon, Hopi, Hotcak, Hungarian, Icelandic, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istroromanian, Italian, Jamaican, Javanese, Jerriais, Kala Lagaw Ya, Kapampangan, Kaqchikel, Karakalpak, Karelian, Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino Sine, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Maori, Marquesan, Meglenoromanian, Meriam Mir, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinhpatha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Ossetian, Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami Inari, Sami Lule, Sami Nothern, Sami Southern, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Seri, Seychellois, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio, Somali, Sorbian Lower, Sorbian Upper, Sotho Northern, Sotho Southern, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen, Tuvaluan, Tzotzil, Uzbek, Venetian, Vepsian, Volapuk, Voro, Wallisian, Walloon, Waraywaray, Warlpiri, Wayuu, Welsh, Wikmungkan, Wiradjuri, Wolof, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni

Green Fairy is a chromatic font family highly ornamented for display purposes. Green Fairy’s characters have been specifically designed to accommodate its loops and ornaments following a modern typeface structure. Green Fairy has four chromatic weights: 1. Green Fairy Outline 2. Green Fairy Dots 3. Green Fairy Stencil 4. Green Fairy Full The outline weight has been created as the base or structure for the other weights. You can combine these weights as well as add colours to obtain multiple effects and type styles. Green Fairy has also three combined weights (combos) to simplify your work flow, for these occasions when you only want to use one single colour in your font: 5. Green Fairy Dots Combo 6. Green Fairy Stencil Combo 7. Green Fairy Full Combo GREEN FAIRY ORIGINS The origin of this typeface is the lettering I designed in October 2015 as part of my illustrated cocktail artwork called “Absinthe. La Fée Verte (The Green Fairy)”. Originally, this lettering only featured eight letters “AB·SINTHE” vector drawn in Illustrator. Right after creating the full-colour artwork, I designed a fountain-letterpress print version of it, in collaboration with Ladies of Letters, A.K.A. Carla Hackett and Amy Constable from Saint Gertrude Fine Printing. At the beginning of 2016 –and thanks to the project @36daysoftype– I found the motivation, and most importantly the deadline, to draw the rest of the twenty-six letters of the uppercase alphabet using Illustrator. I started 2017 having my first two calligraphy courses sold out, so I took this amazing opportunity to devote myself to Green Fairy for a few months. In February 2017, I purchased the font software Glyphs and I started to re-draw all twenty-six letters of the uppercase alphabet again. PRODUCTION PROCESS Green Fairy started being one weight, but quickly turned into a layered/chromatic font. Things were going more or less fine till I arrived to the Dots weight: 1) I started drawing squares following a grid; 2) Then, the squares turned into diamonds following the same grid; 3) Then, the grid wasn’t working so well on the round letters so I tried randomising the position of the diamonds but it didn’t work; 4) So I went back to the grid, and this time scaled down the size of the diamonds creating a visual half-tone effect. I spent over four weeks working on the Dots weight and I felt like I was in the middle of a very long tunnel and I couldn’t see the light at the end. I encountered many other problems along the way but by June 2017, I felt I was back on track again. I kept working, tweaking, re-drawing and re-adjusting, and then the diacritics came on board… And then more re-drawing, re-tweaking, re-adjusting and then numbers… And then spacing, symbols, and currencies… And then more spacing, kerning, contextual kerning for triplets… In September 2017 I told myself “that’s it, I’m going to finish it now!” But guess what? More re-tweaking, testing, hinting, testing, rendering, testing… For those of you not familiarized with typeface design, it is extremely time consuming and it requires a lot of hard work, focus and determination. This project could not have been possible without the help of these generous professionals: Jose Manuel Urós, typeface designer based in Barcelona and my teacher twice in the past; Jamie Clarke, freelance letterer and typeface designer who has released a couple of chromatic fonts recently; Troy Leinster, Australian full-time typeface designer living and working in New York City; Noe Blanco, full-time typeface designer and hinting specialist based in Catalonia; And Nicole Phillips, typographer currently relocating from Australia to New Zealand. To all of you: THANK YOU VERY MUCH!

Sterling Script was initially meant to a be digitization/reinterpretation of a copperplate script widely used during what effectively became the last decade of metal type: Stephenson Blake's Youthline, from 1952. The years from 1945 to 1960 saw a heightened demand for copperplate faces, due to post-war market optimism, as well as the banking and insurance industries booming like never before, which triggered the need for design elements that express formal elegance and luxury. The name Sterling Script is a tip of our hat to England, the Stephenson Blake foundry's country of origin. It is also a historical hint about copperplate scripts having been used mainly for banking and bonds in the 19th century. Originally we just wanted to resurrect a gorgeous metal type from the ashes of forgotten history. But after the main font was done we saw that the original s really needed an alternate. We made one. But we felt sorry for the original s and didn't want to see it dropped from use altogether, so we saved it by building a set of ligatures that solve the minor connection problem with the s at large sizes. Before the completion of the ligatures, a few different alternates were also drawn, and we were faced by the fact that the single font we set out to do was now a much larger set than we anticipated. While thinking about how to split up our unexpected bundle of large characters, we drew a few more alternates and some swashes. This abundance "problem" reached a certain point where there was no looking back, so we just decided to go all the way with this font. We added many more alternates, swashes, ligatures, and two full sets of each beginning and ending lowercase letter. The result is over 750 characters of sheer elegance. Sterling Script has many features that set it above and beyond other copperplate scripts: - It has 2 beginning and 2 ending alternates for every single lowercase character. The beginning and ending variants on the vowels are also available in accented form in the appropriate cells of the character map. - Sterling Script is the ultimate elegant font choice for luxury design. Very elegant, but not too soft. Its strong and confident shapes convey a message that is real, comforting and assuring. - One of the eventual purposes of expanding Sterling Script this extensively was to create a script that finds the middle ground between formal and informal without compromising either trait, a script where the degree of formality can be gauged, tweaked, cranked up or toned down depending on the layout's needs. Aside from beginnings and endings, there are multiple variations for the majority of the basic characters. This is a formal script on steroids, where twirls and swashes can be set to come out unexpectedly from any place in the word, which is great for reducing the inherent rigidity of words set in copperplate scripts and "humanizing" them whenever needed. This is especially useful for wedding, postcard and invitation design, where not every viewer of the collateral material has something to do with banking or insurance. - With such an extensive character set, a designer can easily set a word or a sentence in 10 or more different ways, and choose the perfect one for the task at hand. This is particularly useful for work where details are of utmost importance, like logos, slogans, or elegant engravings that consist of one to three words. Let those swashes and twirls intertwine for maximum elegance. The Sterling Script complete package consists of 7 fonts: Sterling Script, Alternates, Beginnings, Endings, Swashes, Swash Alternates, and Ligatures. Sterling Script is available in five different purchase options and price ranges. But with such a massive offering of variation, the Sterling Script complete package is definitely the most value-laden set in its class. Once you use Sterling Script, you will never want to go back to other copperplates.